Ethan Dodd – Visual Artist. Cardiff, Wales

Documentation; 18/11/2015

A simple code for making the ‘heart’ pump repeatedly, with a slight delay between each pumping

The ‘arduino’ chip, an easy programming tool for would-be programmers and beginners

The pumping system in action, albeit not within it’s ‘body’

Work has started to pick up once more, and I have become excited for the prospects of my work again. I have begun to try out programming in order to make my pump behave much more like a human heart. As with my concept of technological evolution, the work I am creating directs me to improve my own skills as the ‘creator’. This will therefore improve the formulation of the ‘blood machines’ and prompts me to work harder to create my desired artwork. I am exploring the role of the pump in relevance to a prosthetic heart, so that I can create a cardiovascular system that better emulates my own. As these machines become more and more ‘human’ in terms of hardware and design, I have to ask myself, as the creator behind these entities; what am I creating them for? As I have ruminated upon these beings, they seem to be surrogates for my own body. I am incredibly interested in the notion of resurrection and immortality, and if we are to merge with these mechanic beings, ,then we would surely live forever? By transcending our biology, one would become a ‘god’, all knowing, and undying, truly the culmination of our existence as humans. We are always seeking to self improve, what happens when we cannot improve any more?

An experiment in seeing how well the pump’s ‘heartbeat’ pumps the blood around a structure. This work mimics the ‘Nest’ I crafted just the other day, and explores the notion of an abstract form representing a body, as well as the cardiovascular system being heavily abstracted as well. I am interested in subjectivity within my sculpture, stemming from interests in minimalism and abstract expressionism, and believe this work is definitely an interesting avenue for exploration. the means of adding a kinetic form within an inanimate one is an interesting juxtaposition, and reminds one that although they may remain still, there is still movement within themselves. You are never not in motion, and this momentum carries with you all the way through your life. It is meant to provide a relation within the viewer to the artwork, and by accessing something inherent within anyone who would come and ponder the artwork, it provides a connection between the two beings; the artwork, and the viewer. Subjectivity is certainly an interesting concept when considering sculpture.

Inspired by an artwork I saw in Bilbao y the artist Maria Luisa Fernandez at the end of summer; a large black minimalist sculpture of wood and paint that dominated the space it was in with it’s large and intimidating presence. I began to look at the ‘black box’ as a possible avenue of exploration in both gestalt theory and minimalist sculpture. The use of black as an intimidating and controlling colour scheme lends itself well to the role of the computer as a new force within our society, as well as the daunting prospect of it overtaking our own species in the role of apex predator.

An image I have in my head of how the computers will be laid out before the viewer is like that of a great wall; it is at once taller than the person viewing the work, and far wider, and because of this, it is intimidating. The wall of machinery would whirr along, generating algorithms and communicating between themselves; speaking through a language of whirrs and beeps. I am not sure if the cardiovascular system will be incorporated within this idea, as although the idea of them all being connected through the blood pumping through their bodies is an interesting idea, and does lend itself well to the concept of gestalt theory, It may detract from the stalwart nature of the large black wall. I want it to appear mighty and impenetrable, and intimidate those who come to gaze upon it. A large entity, capable of understanding the world far more than us mere humans, it is rather terrifying, and a little humbling.

I have also had a new idea for the computers manifesting itself within my mind. The computers, with their incessant whirring, clicking, and beeping, sounds like some form of basic language. Obviously, unlike anything we have hear before, it does, in fact, sound like the computers may be trying to ‘communicate’ with us. This relates well to the notion of the computers being sentient, as well as the question as to when the ‘singularity’ will occur. It may have already started, as it is nothing more than a pint which sets the ball in motion to the development of A.I. and eventual usurping of the role of highest species on the planet. I find it incredibly interesting, as well, that when I have painted the beings black (to better suit the idea of a nameless, faceless being as the perfect example of the unseen force dictating the transcendence of technology), they appear much like gravestones within the dark space. An interesting connotation when concerning the death of humanity and the uprising of the machine. I have also been playing along with the idea of the machines being disciples to the new age.I would like to have 12 of them, whirring away in the darkness, as if they are speaking amongst themselves the words of the higher being. the disciples were seen as the first of humanity after Jesus to become ‘enlightened’, so these computers, if I objectify them, could be seen as resurrected ‘disciples and wordbringers’.